Relevant bibliographies by topics / Contemporary art museums

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Contemporary art museums'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 February 2022

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Journal articles on the topic "Contemporary art museums"

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de Rosset, Tomasz F. "MIECZYSŁAW TRETER, CONTEMPORARY MUSEUMS." Muzealnictwo 60 (July 9, 2019): 103–7. http://dx.doi.org/10.5604/01.3001.0013.2802.

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In 2019, the National Institute for Museums and Public Collections in cooperation with the Państwowy Instytut Wydawniczy published the 1917 book by Mieczysław Treter titled Contemporary Museums as the first volume in the Monuments of Polish Museology Series. The study consists of two parts originally released in ‘Muzeum Polskie’ published by Treter in Kiev; it was an ephemeral periodical associated with the Society for the Protection of Monuments of the Past, active predominantly in the Kingdom of Poland, but also boasting numerous branches in Polish communities throughout Russia. The Author opens the first part of a theoretical format with a synthesized presentation of the genesis of the museum institution (also on the territory of the Polish-Lithuanian Commonwealth), to later follow to its analysis in view of its collecting and displaying character, classification according to the typical factual areas it covers, chronology, and territory (general natural history museums, general history ones, technological ones, ethnographic ones, historical-social ones, historical-artistic ones); moreover, he tackles questions like a museum exhibition, management, a museum building. In Treter’s view the museum’s mission is not to provide simple entertainment, neither is it to create autonomous beauty (realm of art), but it is of a strictly scientific character, meant to serve science and its promotion, though through this museums become elitist: by serving mainly science, they cannot provide entertainment and excitement to every amateur, neither are they, as such, works of art to which purely aesthetical criteria could be applied. The second part of Treter’s study is an extensive outline of the situation of Polish museums on the eve of WWI, in a way overshadowed by the first congress of Polish museologists, and in the perspective of the ‘museum world’ of the Second Polish Republic. It is an outline for the monograph on Polish museums, a kind of a report on their condition as in 1914 with some references to later years. Through this it becomes as if a closure of the first period of their history, which the Author, when involved in writing his study, could obviously only instinctively anticipate.
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Mironova, Tat'yana Yu. "REPRESENTATION OF HISTORY: CONTEMPORARY ART IN MUSEUMS OF CONSCIENCE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 8 (2020): 116–32. http://dx.doi.org/10.28995/2686-7249-2020-8-116-132.

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Contemporary art more and more actively interacts with the nonartistic museums. For instance, biological, historical as well as anthropological museums become spaces for contemporary art exhibitions or initiate collaborative projects. This process seeks to link different types of materials to make the interaction successful. Thus, several questions appear: can we talk about interaction, if the museum becomes a place for the exhibition devoted to the topics of history, ethnography or biology? Does any appearance of contemporary art in the museum territory become a part of intercultural dialogue? And how do we assess and analyze the process of interaction between these two spheres? Among nonartistic museums working with contemporary art the museums of conscience appear to be one of the most interesting. This type of museums is quite new – it developed in 1990s when the International Coalition of Sites of Coscience was created and the United States Holocaust Memorial Museum was founded. The interaction between contemporary art and museums of conscience starts to develop in the context of changing attitudes towards historical memory as well as widening the notion of museums. In this situation museums need new instruments for educational and exhibitional work. Contemporary artists work with the past through personal memories and experience, when museums turn to documents and artifacts. So, their collaboration connects two different optics: artistic and historical. Thus, it is possible to use the Michel Foucault term dispositif to analyze the collaboration between artists and museums. Foucault defines the dispositif as a link between different elements of the system as well as optics that makes us to see and by that create the system. The term allows us to connect the questions of exhibition work with philosophical and historical issues when we analyze the projects in the United States Holocaust Memorial Museum, Yad Vashem and Auschwitz-Birkenau.
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Schleicher, Alexander. "Museum of Contemporary Art by Artists." Advanced Engineering Forum 12 (November 2014): 79–87. http://dx.doi.org/10.4028/www.scientific.net/aef.12.79.

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Museum is type of building which among architectural work occupies a special place by its distinct function of documenting existence and progress of humankind, society and their environment. This is reflected in the outstanding architecture of these buildings. 95% of museum buildings arose after World War II. This authorizes us to talk about the museum as a “20th century phenomenon“ especially of the second half of it. The unprecedented growth of museums after World War II – most of them are museums of art, especially contemporary art – entitles a question which is often discussed: What is an ideal museum like as an object serving for exhibiting art and what does an ideal exhibition space for contemporary art look like? This question had only been discussed among architects and museologists for a long time. According to the nature of contemporary art and because of the fact that alongside these two determinants the exhibiting artists who actively influence exhibition space and form the final spirit of the exhibition became an important element in creation of the museum; the question what is the artists’ vision of the ideal museum is poignant. Answer to that question can be given by concepts of the ideal museum of contemporary art from the end of the 20th century created by artists. The “Bilderbude” concept by Georg Baselitz, two projects “Ideales Museum” by Gottfried Honegger, “A Place Apart” by Marcia Hafif and also concepts of museums or opinions on a museum of contemporary art by other artists provide an idea of how the artists deal with and look on this problematic. The issue of museum of contemporary art perceived by the optics of artists definitely represents an interesting example of connecting functionality demanded by the artists, significant author’s approach and philosophical ideas concerning the ideal museum of contemporary art. Museum Concepts – Thinking about Museum Museum concepts from the beginning of existence of museum buildings (in some cases even before considering a museum an individual specialized object or an institution) provide us the notice about the main themes which the actors of this problematic were dealing with at that time. While at the beginning in the museum concepts we can trace the effort to define an individual type of a museum building, an ideal museum; then we can see searching for a form which would be adequate to the building expression. Later especially in the 20th century until nowadays there have been solved more specific problems concerning the growth of the museum collections, expanding the functional structure of the museum, shape and form of the exhibition space etc. The museum topic such important personalities as for example Étienne-Louis Boullée, Le Corbusier or Ludwig Mies van der Rohe brought their contribution. The 20th century especially the 2nd half of it, if we do not only consider the narrow present scope, brought an unseen growth of museum architecture. 95% of museums arose after the World War II. [1] A great part of museums which were built in this period are museums of art, often presenting modern or contemporary art. This fact - emerging of such an amount of museums of contemporary art together with the changed form of visual art in the 20th century – the importance of depicting and documenting function of art, which until then visual art besides the aesthetical function was satisfying started to decrease, the artist were engaged in new themes, they experimented with new methods etc. – brings increasing effort of the artists to influence the final form of the exhibition spaces in the means of their specific demands and also to influence the form of the general form of the museum building. The artists more and more actively participate at creating the museum, they influence the form of the exhibition space and the exhibition itself – unlike in the past, when the museologist, curator was creating the exhibition by choosing from the collection, which he had at disposal and the exhibition was formed by them relatively independently from the artists – authors of the exhibits. The first artistic experiments, which balance on the edge of visual art and museum, have been occurring since the 20-ties of the 20th century – let’s mention for example El Lissitzky (Proun room, 1923), Kurt Schwitters (Merbau, 1923-37) or Marcel Duchamp (Boîte-en-valise, 1935-41), and they persist until nowadays. In the 70-ties Brian O`Doherty analyses from the point of view of an art theoretician but also an active artist the key exhibition space of the 2nd half of the 20th century, which he characteristically identifies as White Cube. Donald Judd – artist and at the same time a hostile critic of contemporary museum architecture (70-ties-80-ties) formulated his uncompromising point of view to the museum architecture as follows: “Forms’ for their own sake, despite function, are ridiculous. One reason art museums are so popular with architects and so bizarre, is that they must think there is no function, the clients too, since to them art is meaningless. Museums have become an exaggerated, distorted and idle expression for their architects, most of whom are incapable of expression.“ In another text he posed the question: “Why are artists and sculptors not asked how to construct this type of building?“ [2] As we can see the artists’ opinion who seem to stay unheard in the museum and their needs stay unnoticed has full legitimacy and is very interesting for the problematic of museum and exhibition space. Beginning in the 70-ties of the 20th century these opinions are given more and more precise contours. While O’Doherty only comes with a theoretical essay on exhibition space (1976), D. Judd already presents his own idea of a museum even realised through the Marfa complex in Texas (1979/1986). Let’s mention some other artists who form their ideas of an ideal museum in form of unrealised concepts. Some authors name their proposals after a bearing idea of their concept; others call them directly ideal, in the same way as it was in the beginning of the history of museum. Contemporary Art Museum Concepts by Artists Georg Baselitz: Bilderbude.
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Szafrański, Wojciech. "‘NATIONAL COLLECTIONS OF CONTEMPORARY ART’: PROGRAMME OF THE MINISTER OF CULTURE AND NATIONAL HERITAGE TO FINANCE PURCHASES OF CONTEMPORARY ART WORKS IN 2011–2019 PART 1. HISTORY: FINANCING." Muzealnictwo 62 (September 13, 2021): 227–35. http://dx.doi.org/10.5604/01.3001.0015.2686.

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The ‘National Collections of Contemporary Art’ Programme run by the Ministry of Culture and National Heritage (MKiDN) in 2011–2019 constituted the most important since 1989 financing scheme for purchasing works of contemporary art to create and develop museum collections. Almost PLN 57 million from the MKiDN budget were allocated by means of a competition to purchasing works for such institutions as the Museum of Modern Art in Warsaw (MSN), Museum of Art in Lodz (MSŁ), Wroclaw Contemporary Museum (MNW), Museum of Contemporary Art in Cracow (MOCAK), or the Centre of Polish Sculpture in Orońsko (CRP). The programme in question and the one called ‘Signs of the Times’ that had preceded it were to fulfil the following overall goal: to create and develop contemporary art collections meant for the already existing museums in Poland, but particularly for newly-established autonomous museums of the 20th and 21st century. The analysis of respective editions of the programmes and financing of museums as part of their implementation confirms that the genuine purpose of the Ministry’s ‘National Contemporary Art Collections’ Programme has been fulfilled.
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Mastandrea, Stefano, Gabriella Bartoli, and Giuseppe Bove. "Learning through Ancient Art and Experiencing Emotions with Contemporary Art: Comparing Visits in Two Different Museums." Empirical Studies of the Arts 25, no. 2 (July 2007): 173–91. http://dx.doi.org/10.2190/r784-4504-37m3-2370.

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The aim of the present research was to explore possible differences between visitor experiences in two different kinds of art museums according to the art styles of the collections hosted: the Museum Borghese of Rome (ancient art) and the Peggy Guggenheim Collection of Venice (contemporary art). Two questionnaires were administered to 500 Italian participants before and after their visit to one of the museums. Questions (Likert scales and multiple choice) assessed how much visitors liked and were satisfied with the museum and their visit, and the motivations, expectations and preference that drive people to visit museums of ancient versus contemporary art. Results show that people who visit the Guggenheim Museum have higher socio-economic status (education and profession) and visit museums more frequently than those who attend the Borghese Museum. Additionally, educational level relates to the enjoyment of the visit and to the nature of the aesthetic experience; visit conduction by Borghese visitors was driven by the intent of understanding and knowing, while those who attended the Guggenheim took an emotional approach to their experience.
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HANCOCKS, ANTHEA. "Art Museums in Contemporary Society." Curator: The Museum Journal 31, no. 4 (December 1988): 257–66. http://dx.doi.org/10.1111/j.2151-6952.1988.tb00697.x.

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Mačianskaitė, Vilma. "Contemporary Lithuanian Artists: Career Opportunities." Art History & Criticism 13, no. 1 (December 1, 2017): 88–110. http://dx.doi.org/10.1515/mik-2017-0007.

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Summary By analysing the careers of internationally recognized artists from Lithuania and the relationship between Lithuanian contemporary artists and art galleries and museums, the author explores the challenges faced by today’s artists and hypothetically underlines the principles that could be useful for them in seeking to enter into the global art scene. The essay analyses the lack of cooperation between artists and galleries, and the representation of artists in Lithuanian museums, which is considered to be the base of a contemporary artist’s career. The essay assesses the influence of the main participants in the art market upon artists’ careers, by investigating the Lithuanian art market’s position after the restoration of independence in 1990. Twenty Lithuanian artists, major galleries or representatives of museums (such as the National Art Gallery and the MO Museum, formerly known as the Modern Art Centre) were interviewed for the purposes of this study. This examination of the Lithuanian art market reveals the peculiarities that artists have encountered, and could help international art market players to better understand the problems that the Lithuanian art market is facing. The author seeks to identify the main factors helping artists to navigate the global art scene and the global art market.
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Matuscak, Melissa. "Redefining Production-Contemporary Art Museums in Post-Industrial Spaces: The Massachusetts Museum of Contemporary Art." International Journal of the Arts in Society: Annual Review 3, no. 3 (2008): 55–66. http://dx.doi.org/10.18848/1833-1866/cgp/v03i03/35479.

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Robichaud, Lise. "ArTSchives: un tremplin vers divers types de musées et vers la création artistique." Canadian Review of Art Education: Research and Issues / Revue canadienne de recherches et enjeux en éducation artistique 43, no. 1 (October 17, 2016): 90. http://dx.doi.org/10.26443/crae.v43i1.19.

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Abstract: The article introduces arTSchives, a visual art teaching model that integrates the concepts of museum, archives, and experiential learning. Its purpose is to help understand contemporary artwork of the archival type while proposing artistic creation channels that integrate the concept of archives. The author conducted a content analysis of visual art installations that resulted in a list of potential archive sources. This particular type of teaching promotes the visiting of contemporary art museums as well as natural sciences, human sciences and other types of specialised museums.KEYWORDS: Contemporary; museums; teaching model; Acadian cultural context; art appreciation; archival art; artistic creation; art galleryRésumé: L’article présente un modèle d’enseignement des arts visuels intitulé arTSchives qui intègre les notions de musée, d’archives et d’apprentissage expérientiel. Le but est de faciliter la compréhension des œuvres d’art contemporain de genre archivistique tout en proposant des pistes de création artistique intégrant le concept d’archives. L’auteure a procédé par une analyse de contenu d’installations en arts visuels ce qui a mené à l’énumération d’une liste d’exemples de sources d’archives possibles. Ce type particulier d’enseignement encourage la fréquentation des musées d’art contemporain ainsi que des musées de sciences naturelles, sciences humaines et autres musées spécialisés.MOTS CLES: Contemporain; musées; modèle d’enseignement; contexte culturel acadien; appréciation artistique; art archivistique
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Bashirova, Elza, Elena Denisenko, Kamilla Akhmetova, and Vilnur Kadirov. "Museum and center for contemporary art: design principles and functional features." E3S Web of Conferences 274 (2021): 01019. http://dx.doi.org/10.1051/e3sconf/202127401019.

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The article discusses the topical issue of the establishment of museum and center for contemporary art. The objective of the research is to analyze the historical background of contemporary art museums; to review the world design practice of them according to urban planning, functional, architectural and expositional criteria; to reveal functional features’ trends and to identify the design principles of an advanced center for contemporary art. We collected more than 45 leading examples to compile a matrix using classification and analysis methods. As a result, we reached the museums’ functional features: administrative, exhibition, educational, recreational are fixed functions; storage and research functions are optional; cultural and entertainment are particularly additional functions. At first, art museums and centers are focused on adaption to visitors and intersection with them, secondly, on the exhibit. To sum up, we define the design principles of the ideal architectural model on the basis of urban planning, architectural, sociocultural and technological radicals. In conclusion, it is revealed that contemporary art centers have absorbed most of the historical functions of the museum and today are one of the developed types of the multifunctional architecture.
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Dissertations / Theses on the topic "Contemporary art museums"

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SRITONGSUK, PONGCHAI. "A STUDY OF CONTEMPORARY ART MUSEUMS." The University of Arizona, 1997. http://hdl.handle.net/10150/555225.

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Moser, Susan. "K-12 Educational Programs in Contemporary Art Museums: An Examination of University and Non-University Non-Collecting Institutions of Contemporary Art." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/4031.

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This museum thesis project will provide an overview of kindergarten through 12th-grade (K-12) educational programs at six non-collecting art institutions within the United States, contextualized within a selected historiography of art museum education. This project is designed to aid the Virginia Commonwealth University Institute for Contemporary Art (ICA). The ICA is a non-collecting institution that will be located on VCU’s Monroe Park campus. As the ICA staff sets out to articulate a vision and scope for its K-12 education programs, it will benefit from the information offered in this thesis project, especially given that there is no existing literature specifically about K-12 programs at non-collecting museums of contemporary art.
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Silva, Carolina Carvalho Palma da. "Youth forums in contemporary art museums : mapping untimely entanglements." Thesis, Goldsmiths College (University of London), 2017. http://research.gold.ac.uk/22732/.

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Youth forums – long-term programmes for young people, age 15 to 21, emerged in the mid 1990s in contemporary art museums in response to the misrepresentation of this age group and as an attempt to offer them a creative space outside the school environment. My research draws a genealogy of museums turn toward youth, looking in particular to six ecologies – the Whitechapel Gallery, Tate, South London Gallery, Whitney Museum, MoMA and the New Museum. Drawing on the notion of heterotopia, proposed by Michel Foucault, I discuss the relational ethos of youth forums, as they are concomitantly connected to and separated from museums. This historical mapping is expanded to consider the pedagogies that come together in collaborative art practices, as these are at the heart of initiatives for youth in contemporary art museums. Focusing on the Whitechapel Gallery’s youth forum – Duchamp&Sons, namely the projects De/construct (2013-2014) and Art Casino (2014-2015), three concepts emerged from their open-ended collaborations – ignorance, forgetfulness, and unknown. These were the élan to invent new ways of working and being together, to what I, influenced by Louis Althusser’s materialism of the encounter, Gilles Deleuze and Félix Guattari’s middle, and Karen Barad’s intra-actions, name pedagogy of the encounter. In tandem with the emphasis on collaborative art practices, the long-term duration of youth forums gives young people the opportunity to return and therefore expand their relation with museums – curators, artists, and their peers. To think these untimely entanglements in terms of being-with, of a singular plural ontology as discussed by Jean-Luc Nancy, entails an impossible sense of togetherness, which stresses the politics and ethics of the AND. Based on the experiences of Duchamp&Sons participants I further mapped the potentiality of being part of a youth forum, where-when participation is always felt in movement. In sum, it is a matter of connections – visible and invisible.
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Quinn, Lisa A. "Contemporary Curatorial and Exhibition Practices at Twenty-First Century Academic Art Museums." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1547208446490768.

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Bueno, Delgado Patricia. "Towards a professional learning dialogue in Mexican contemporary art museums." Thesis, City, University of London, 2014. http://openaccess.city.ac.uk/17618/.

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Dialogue is a tool that can be used to promote learning experiences amongst audiences in contemporary art museums, in particular due to the potential difficulty of interpreting this type of art. This study argues that when dialogue between the museum and audience promotes balanced opportunities to express ideas and information, the museum can also learn. The museum can share the learning findings about audiences with the rest of the staff members through a professional dialogue, which may impact, creating positive change on future museum practice, in order to facilitate exhibitions, programmes and activities better targeted to audiences. The research explores the concept of learning dialogue using interviews, content analysis, and a theoretical framework related to learning and dialogue in museums. The study also analyses the role of learning and education, and their context in contemporary art museum practice in Mexico, using critical texts and practical evidence from interviews with educators, curators and directors. The thesis investigates, in particular, the case study of the Enlaces programme at the University Museum of Contemporary Art (MuAC). This is a learning activity where the Enlaces participants, who are university students, receive training about the specialist knowledge required to understand contemporary art. The participants aim to create further dialogue with audiences with the purpose of provoking questions, reflection and understanding of MuAC’s contemporary artworks and exhibitions. Findings from the Enlaces participants’ interviews reveal a learning dialogue with audiences, resulting in a model that considers the interaction of three categories of dialogue: visual internal, content and participatory dialogues. Furthermore, the research demonstrates that the interactions between the Enlaces participants and MuAC staff stimulate peer dialogue, professional dialogue and limited dialogue. The analysis of findings results in a model for professional learning dialogue based on the interaction between three key areas: communication, recognition and teamwork. The research proposes an optimal scenario where there is professional and audience learning dialogue taking place, these then feedback to the museum cyclically, allowing audiences to contribute and influence the organisation.
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Lu, Dawei. "A sociological exploration of cultural distinction in Chinese contemporary art museums and galleries : contemporary art and its visitors." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18187/.

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Based on fieldwork that has been conducted at three contemporary art museums and galleries (National Art Museum of China, Ullens Centre for Contemporary Art, and Shengzhi Space) in the People’s Republic of China (PRC), including both questionnaire surveys (2376 respondents) and interviews (11 interviewees), this thesis elucidates how contemporary art, an internationally sanctioned legitimate art form, configures into the PRC’s national hierarchy of cultural genres. Through the use of a cluster analysis, a multinomial logistic analysis, and a thematic analysis, this current research demonstrates that the flow of the ‘world culture’ between countries does not necessarily contribute to the prevalence of a hegemonic and internationally universal pattern of cultural consumption in diverse cultural contexts. The most obvious finding to emerge from the analyses is that a negotiation has been taking place between cultural forces that represent different cultural and aesthetic ideologies at the borders of the PRC’s social and cultural context. One consequence of this negotiation is that the public art museum and galleries visitors have a lower probability of encountering artworks that overtly challenge the established Chinese aesthetic, ethical, and political norms. By making compromises with the political interests of the Communist Party of China (CPC) mentioned above, the avant-garde characteristics of the public museum-based contemporary artworks have become increasingly blurred (for instance, by taking a less aggressive stance towards the established traditional aesthetic principles). One of the drawbacks of this compromise lies in its negative influence on the development of the public museum-based contemporary Chinese art. The evidence is sufficient to demonstrate that the public museum-based contemporary Chinese artworks were less attractive for both art professionals and the ‘lay’ visitors. Thus, the PRC’s cultural policies, which aim to preserve the national characteristics of contemporary Chinese art, ended up running counter to its stated goal.
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Berry, Jessica, and n/a. "Re:Collections - Collection Motivations and Methodologies as Imagery, Metaphor and Process in Contemporary Art." Griffith University. Queensland College of Art, 2006. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070327.151934.

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By the 1990's many modes of artwork incorporated the constructs of the museum. Art forms including, 'ethnographic art', 'museum interventions', 'museum fictions' and 'artist museums' were considered to be located in similar realms to each other. These investigations into this emerging 'genre' of collection-art have primarily focussed upon the critique of the public museum and its grand-narratives. This thesis will attempt to recognise that the critique of institutional hierarchical systems is now considered integral to much collection art and extends this enquiry to incorporate private collections which examine the narratives of everyday existence. This paper adopts an interdisciplinary approach to material culture and art criticism in examining everyday objects within contemporary collection-art. In this context, this paper argues that: the investigation of collection motivations (fetish, souvenir and system) as metaphor, process and imagery in conjunction with the mimicking of museology methodologies (classification, order and display) is an effective model for interpreting everyday objects within contemporary collection-art. In formulating this argument, this paper examines the ways in which artists emulate museology methodologies in order to convey cultural significance for everyday objects. This is explored in conjunction with the employment of collection motivations by artists as a device to understand elements of human/object relations. In doing so, it contemplates the convergence between the practices of museums and collection-artists. These issues are explored through the visual and analytic investigations of key artist case studies including: Damien Hirst, Sylvie Fleury, Mike Kelley, Christian Boltanski, On Kawara, Luke Roberts, Jason Rhoades, Karsten Bott and Elizabeth Gower. In doing so, this paper argues that the everyday objects of collection-art can represent a broad range of socio/cultural concerns, so delineating a closer relationship between collection-art and material culture.
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Soltys, Hannah, and Hannah Soltys. "Archiving Experience: A Case Study of the Ephemeral Artworks and Archives of Allan Kaprow, Eva Hesse, and Richard Tuttle." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/626142.

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In this thesis, I will examine the difficulties of documenting ephemeral art and the possible solutions that archivists, curators, artists and other museum professions have come up with. I will begin by presenting a background of the history of performance art, which was the impetus for all ephemeral art to come. Then I will present case studies of three artists: Allan Kaprow, Eva Hesse, and Richard Tuttle, and their archival processes, all of which provide very different approaches to similar artistic problems. Finally, I will discuss the implications of re-performance and re-creation of ephemeral artworks.
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Seiler, Jena M. "Sensing Security through Contemporary Art and Ethnographic Encounters." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou151022822064186.

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Van, Eck Steve. "Neighborhood Economic Impacts of Contemporary Art Centers." PDXScholar, 2018. https://pdxscholar.library.pdx.edu/open_access_etds/4435.

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Do investments in Contemporary Art Centers spur investment and economic development in the surrounding community? And if so, what factors are associated with these developments' outcomes? To assess these questions, a general overview of the dominant arts-and-economic-policy perspectives were considered, and two cases of contemporary art center developments, one in St. Louis and one in Cincinnati, were compared and treated as hypothetical value-capture investments. Sale prices of properties surrounding each investment property were adjusted to reflect market factors, then compared to values before and after an investment property opened to the public. A review of supplemental documents and interviews with the developments' directors were used to determine factors that contributed to the effects observed in the study. Findings indicated that the adjusted value of properties in Cincinnati declined with distance from the site of development in the post-test period, and not in the pre-test period. Hedonic results for properties in St. Louis were not significant. However, the museum's development was one among other factors that signified to investors that the area was ready for restoration. Interviews and document review indicated that community participation in the development planning process, distinctive architecture, and commercial contexts were associated with developments meeting their stated goals.
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Books on the topic "Contemporary art museums"

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Spain: Contemporary art + architecture handbook. San Francisco, CA: art-SITES, 2001.

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Bénichou, Anne. Documentation standards in contemporary art. Ottawa, Ontario, Canada: Canadian Heritage Information Network, 1994.

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Imperial War Museum (Great Britain), ed. Art from contemporary conflict. London: Imperial War Museums, 2015.

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Thinking contemporary curating. New York, NY: Independent Curators International, 2012.

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The museums of contemporary art: Notion and development. Farnham: Ashgate Pub., 2011.

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Lorente, Jesús Pedro. The museums of contemporary art: Notion and development. Farnham: Ashgate Pub., 2011.

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Art London: A guide to contemporary art spaces. 2nd ed. London: Ellipsis, 2000.

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Art London: A guide to contemporary art spaces. London: Ellipsis, 1999.

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Holl, Steven. Kiasma, Museum of Contemporary Art, Helsinki. Helsinki: Museum of Contemporary Art, 1997.

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Steve, Schepens, and Grebennikov Alexander, eds. Berlin contemporary art: See, buy, make = sehen, kaufen, machen. Berlin: Grebennikov Explorise, 2011.

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Book chapters on the topic "Contemporary art museums"

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Ferreira, Emília. "Contemporary Art as Pedagogical Challenge." In Adult Education, Museums and Art Galleries, 103–13. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-687-3_9.

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Sprengler, Christine. "Activating Memories and Museums through the Expanded Essay Film." In Hitchcock and Contemporary Art, 45–65. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9780230392168_3.

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Clintberg, Mark. "Museums of Good Taste, Artworks of Good Taste: Gastronomic Contemporary Art." In Sensory Arts and Design, 121–35. New York: Bloomsbury Academic, 2017. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003086635-9.

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Man, Eva Kit Wah. "A Museum of Hybridity: The History of the Display of Art in the Public Museum of Hong Kong and Its Implications for Cultural Identities." In Chinese Contemporary Art Series, 71–78. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-46510-3_10.

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Laine, Anna. "Engagements in the ethnographic museum and contemporary art galleries." In Practicing Art and Anthropology, 87–93. London, UK ; New York, NY, USA : Bloomsbury Academic, 2018. |: Routledge, 2020. http://dx.doi.org/10.4324/9781003086444-5.

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Herruzo, Ana, and Nikita Pashenkov. "Collection to Creation: Playfully Interpreting the Classics with Contemporary Tools." In Proceedings of the 2020 DigitalFUTURES, 199–207. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-33-4400-6_19.

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AbstractThis paper details an experimental project developed in an academic and pedagogical environment, aiming to bring together visual arts and computer science coursework in the creation of an interactive installation for a live event at The J. Paul Getty Museum. The result incorporates interactive visuals based on the user’s movements and facial expressions, accompanied by synthetic texts generated using machine learning algorithms trained on the museum’s art collection. Special focus is paid to how advances in computing such as Deep Learning and Natural Language Processing can contribute to deeper engagement with users and add new layers of interactivity.
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Mavini, Christina. "Engaging New Museum Audience Through Art Workshops: The Case of “Adult Art” at Macedonian Museum of Contemporary Art." In Strategic Innovative Marketing and Tourism, 327–35. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12453-3_37.

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Strnad, Brigita. "Children’s Engagement with Contemporary Art in the Museum Context." In Multimodal Perspectives of Language, Literacy, and Learning in Early Childhood, 169–90. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-44297-6_9.

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McClusky, Pamela. "The Unconscious Museum: Collecting Contemporary African Art without Knowing It." In Collecting the New, edited by Bruce Altshuler, 115–30. Princeton: Princeton University Press, 2013. http://dx.doi.org/10.1515/9781400849352.115.

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Čubrilo, Jasmina. "The Museum of Contemporary Art in Belgrade and Post-Revolutionary Desire." In Making Art History in Europe After 1945, 125–48. 1. | New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781351187596-9.

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Conference papers on the topic "Contemporary art museums"

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Güner, Atiye, and İsmail Erim Gülaçtı. "The relationship between social roles of contemporary art museums and digitalization." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p77.

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This paper was adapted from the author’s PhD dissertation named “The Effects of Digitalization on Contemporary Art Museums and Galleries”. The digital age has started with the digitalization of information and information communication. The digitalization processes that accelerated with the rapid developments in information and communication technologies have deeply affected museums. Museums are information-based organizations, their primary functions are to protect and spread information. Digitalized information and information communication have obligated contemporary art museums to follow digitalization processes. In this process, technological convergence is another factor that accelerates digitalization of contemporary art museums. ICOM has defined a contemporary museum as a polyphonic platform including participatory, inclusive and democratizing elements. When all these concepts are considered, the importance of communication between museum-community becomes apparent. Today, contemporary art museums have taken communication to their focal points. Museum-society communication is experienced in contemporary art museums through artistic activities as well as institution's communication-oriented strategies. Contemporary art activities using digital technologies and multimedia technologies generally require audience participation. Global access and various digital platforms provide the society with equal access to museums and art events, as well as making the arts of various countries and identities more visible. In the field of education, contemporary art museums develop projects by cooperating with various institutions. The effective use of digital platforms and institutional pages serves as a catalyst in the realization of these roles that museums undertake. Innovations in information and communication technologies accelerate the digitalization processes and serve as a mediator in maintaining the social roles of museums. For example, it can be said that technological convergence increases the number of museum visitors, therefore, it is the mediator of the social roles of museums. Technologies such as virtual reality, augmented reality and artificial intelligence, which are used in exhibition design in museums, require audience interaction. Digital art based on digital technology takes its place in contemporary art museums. In this study, it was aimed to reveal that social roles undertaken by contemporary art museums, such as participatory, inclusive, democratizing and polyphonic roles, are closely related to the digitalization of institutions and that digitalization acts as a catalyst for these roles.
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Guo, Jie. "The Space Design of the Contemporary Art Museums." In Proceedings of the 2nd International Conference on Contemporary Education, Social Sciences and Ecological Studies (CESSES 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/cesses-19.2019.169.

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SHakulova, N. O. "The relevance of St. Petersburg contemporary art museums for children primary school age." In Scientific Trends: pedagogy and psychology. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/sciencepublic-04-12-2019-18.

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Tostões, A., and H. Barranha. "Museums and centres of contemporary art inside historical buildings: three cases in Portugal." In STREMAH 2007. Southampton, UK: WIT Press, 2007. http://dx.doi.org/10.2495/str070041.

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Mitrović, Aleksandar. "VIRTUAL ART MUSEUM AS EDUCATIONAL CONTENT ICT IN TEACHING FINE ARTS (THEORETICAL ASPECT)." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.417m.

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The educational goal of teaching fine arts is to adopt visual literacy and visual expressiveness. Learning by means of information and communication technologies (ICT) involves the use of digital devices for the effective and creative extension of knowledge. The production of electronic educational materials is increasing daily, and thanks to the Internet, it is available on almost all ICT devices. In this paper virtual museums are presented as educational contents of ICT in the teaching of fine arts, as well as their method of application in teaching. The contents presented by virtual museums provide an interactive and non- interactive method of learning and exploration. The interactive educational content of virtual museums is often in the form of educational applications or websites that can be found on ICT and have well-intended educational goals. The contemporary approach and use of ICT in the teaching of fine arts provides new learning opportunities that focus on the aesthetic experience and theoretical aspect of visual content. Given that it takes less time to adopt pictorial content than to adopt verbal content, today’s approach to fine arts education involves the use of ICT.
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Canbakal Ataoğlu, Nihan, Habibe Acar, and Aysel Yavuz. "Museum’s Open Space." In 3rd International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 6-8 May 2020. Alanya Hamdullah Emin Paşa University, 2020. http://dx.doi.org/10.38027/n382020iccaua3163635.

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Museums are institutions that carry on the cultural and artistic treasures of societies to future generations. Economic social, cultural and philosophical thoughts in the world have changed the understanding of museology. At the beginning of the 20th century, modern architects brought new expansions to classical museum typology. In the 1970s, museums began to draw attention as the city's landmark and meeting points. Along with the museums, courtyards, squares and gardens, which are open spaces of museums, have also changed. By joining the city life, they became new social attraction centers. Museums and museum open space from Turkey and the world in the study areas, classified under the headings of traditional and contemporary, will be analyzed under the headings of form, style, material, elements of boundry, planting design, activities area, urban furniture, and function. In order to demonstrate the changing today’s museum’s open space; an analysis will be made using spatial experiences, observations, syntactic analysis technique. Study’s contribution to the literature will be determined by the design approaches of contemporary and traditional museum open spaces. As part of the museum identity and character, it will be pointed out that the open spaces of the museum are as important as the design of the museum buildings.
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Livatino, Salvatore. "Virtual Museum of Contemporary Art." In 17th International Conference on Artificial Reality and Telexistence (ICAT 2007). IEEE, 2007. http://dx.doi.org/10.1109/icat.2007.55.

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Strizhkova, Natalia. "Museum as an Institutional Form of Personal & Social Experiments: Project of Russian Avantgardism Artists." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-10.

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Museums as cultural institutions certainly reflect the sociocultural transformations of the new era and are changing with the new reality. Except for that, a museum is, by definition, an institution of memory, a keeper of history, it is based on adoption: the collection, successiveness and actualisation of past experience. What is perceived as innovation by contemporary society may have historical roots and be an actualisation of innovations of a bygone era. Modern museum development recalls a global project undertaken by Russian avant-garde artists in the early 20th century, and implying the institutional modernisation of museums. This study addresses a project taken on by avant-garde artists for the modernisation of museums in the context of general cultural construction, in cooperation with the Soviet Government. The research methodology is based on a conjunction of a historical study and culturological analysis, primarily the concept of the institutional approach. The study consisted in looking through archival documents: The Fund of the People’s Commissariat for Education and its departments (declarations, provisions, resolutions, decrees, minutes of meetings, correspondence, protocols and statements of estimates, inventory books of the State Museum Fund etc.), personal funds of artists and cultural figures, their theoretical works, articles, correspondence. A holistic inter-disciplinary approach combining historical and culturological analysis with prospects for contemporary sociocultural development and the role of museums is seen as a promising novelty of the research. Russian avantgardism as an artistic and sociocultural phenomenon has remained of great interest for a century. Different studies shed light only on separate aspects of this vast topic in different scientific contexts. The examination of the museum project by avant-garde artists under this study allows us to conclude that they were the first to undertake the institutional modernisation of museums by considering them in the focus of new demands of time and society, innovative programmes as forms of personal initiatives and experiments expressed in the broad public space of artistic culture.
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Beris, Yeter, and İsmail Erim Gulacti. "Influences of Japanese prints on European printmaking (in the case of Degas-Manzi partnership)." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p69.

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Contemporary artists have included classical methods together with innovative digital printing technologies to their artistic manufactures and thus their technological production interactions have been reflected on current art as well. Today’s artists have also been in collaboration with each other by involving the digital printing technologies which kept advancing during the recent 20 years in their works of art just like Degas and Manzi did in their relationships of production partnerships in 19th Century. Besides, those opinions which originated from modernism ideas and movements consist of the core of this cooperation post Industrial Revolution era. Therefore, the concept of nationalism, the devastating consequences of the world wars and the latest industrial and technological advancements have all transformed human life irreversibly. Consequently, during this transformation era, various significant movements of art such as Impressionism and Expressionism emerged in the 20th century and representatives of those art movements substituted such a lot of printmaking practices in their works of art. None of those mentioned above took place in other previous movements of art. They reflected their points of view that they display social movements and none of the other artists who represent other senses of art have ever exhibited such a lot of printmaking practices. Thus, various printing technologies which present a new laboratory environment to the artists. As a result of this, printing technologies have been preferred as a sort of new artistic media value and it started to take its prominent place in collections of art as well as in museums during artistic presentations. Within this context, this article aims at studying the phenomenon of art by considering how it has changed during the historical process by examining those works of art which reveal these variations. Common production and working techniques in traditional printmaking, contributions of the technological advantages to the artistic manufacture. Besides, periodical innovations will be examined and presented by introducing an updated point of view to the topic within the content of this article that contain some citations from the second part of the thesis titled “Effects of fine art printmaking on the phenomenon of contemporary art”.
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Malecka, Anna. "THE IDEA OF DECONSTRUCTION AND CONTEMPORARY HISTORY MUSEUMS." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocialf2018/6.3/s15.038.

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Reports on the topic "Contemporary art museums"

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.308086.

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Sweeney, Liam. Free for All: Contemporary Arts Museum Houston. Ithaka S+R, September 2018. http://dx.doi.org/10.18665/sr.309177.

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